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At The Disco and Paramore. He has been part of the team since day one when he signed Billie to the label, and instrumental to the the success of the project. He is also very independent-spirited and fights for his artists. BG: Justin is a machine. He is amazing at utilizing all of the resources around him to make the most out of every opportunity.
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We knew this was going to grow, but the speed of it has been pretty mind-blowing. For someone like Billie, she takes it in stride. They really help to also filter and keep things in perspective. Having a great support system in place is essential for any young artist. The ability to receive so much data in real-time helps us better understand the growth of a song or artist in real time.
DR: The music business now is in one of the best states its ever been in. The market and the ability for people to consume music is at its greatest in a long time. Somebody made a point four or five years ago that the streaming services would basically make music a utility [because streaming] gives you the ability to listen to whatever you want, whenever you want. The one thing that probably would be great to see as a continual change, is how songwriters, performers, and rights-owners are being taken care of with performance and songwriting royalties, or how they are being paid.
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DR: Streaming is at an all-time high, and music consumption is hitting a critical mass, to some degree. They were thinking, make a playlist of our songs that fit together. I think that as fans continue to discover artists, and artists do a good job of hooking them into their world, albums can be just as big as they once were.
That is really a testament to having the right music with the full support from fans, and be able to bring all of that to radio and work with the teams nationally and locally as mutually beneficial partners.
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SiriusXM, iHeart, Amp, etc have all done such a great job understanding the full artistic vision and helping to amplify that. BG: I think people need to remember that Billie was releasing music for three and a half years before she released a full length album. We waited until the demand was there for an album to be consumed by her fans as we continued to build the story of her as an artist.
Equally as important is that her and Finneas focused on making a cohesive body of work, an album of songs that were meant to be consumed together. They did not just want to release a bunch of songs that did not creatively fit together. BG: Billie and Finn have had plenty of opportunities to work in any studio [out there], but they prefer to work at home where they feel the most creative and comfortable.
BTS want to collaborate with Billie Eilish | Consequence of Sound
DR: The magic they have with their home and creative life is something really important to their process because it truly keeps them inspired. Book Category. Paul Quinichette. Years given are for the recording s , not first release. Hidden categories: Articles needing additional references from June All articles needing additional references Duration without hAudio microformat Articles with hAudio microformats.
I just licked them. In between sitting for photos for this story, Billie props her phone against a tree and films herself dancing to a song by Mac Miller and Anderson. She is notoriously hard on her own work, but also, she was literally Billie heard it from across the narrow hall dividing their rooms and knew she could make the song her own; conveniently, she was nursing a crush on a blue-eyed boy.
The shocking part was that Billie was 13, singing of burning cities and napalm skies with near-perfect control of her Lana Del Rey-ish falsetto. But in that moment one thing became clear: she is a star.
That was three very long years ago. Arriving at lunch along with her mom, her brother, and her publicist, Alex , she is dressed like if Jigsaw from Saw was a big fan of Ski Mask the Slump God: baggy red shorts, a droopy-sleeved red and black button-down covered with safety pins, and her usual tangle of skull-studded silver chains. If the mid-morning crowd recognizes Eilish, no one lets on. She considers this particular clusterfuck for a moment, spreading sriracha on a tofu-scramble toast. Being able to drive? Uhh, fire.
Being able to go to the store and just buy the thing that you want? In a Apple mini-doc, Maggie describes a year-old Eilish working shifts at a local ranch in exchange for horseback riding lessons. Finneas explains that the one thing I need to know about homeschooling is that the slight edge of boredom is a good thing. Plus, being bored meant you could be creative. I was always singing, dancing, jumping, and moving — I could never sit still. Other things that are intense to deal with.
A year old singer-songwriter might have a huge range of feelings, but not a ton of lived experience with which to frame them. They were the coolest. You can be whatever you want.